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If you’re going to lead, you have to have certain values that are important to you, otherwise you can’t lead, you just flip-flop around the place. Jim Bolger Nowhere is it written down what are the powers of the Prime Minister ... it’s your personality, it’s the skills that you’ve got, it’s how you use the office. Helen Clark Based on the acclaimed RNZ podcast series, and including new material, The 9th Floor by journalists Guyon Espiner and Tim Watkin presents in-depth interviews with five former Prime Ministers of New Zealand. Geoffrey Palmer, Mike Moore, Jim Bolger, Jenny Shipley and Helen Clark reflect on their time occupying the prime ministerial offices on the 9th floor of the Beehive. Their recollections amount to a fascinating record of the decisions that shaped modern New Zealand.
Jessica Dimmock's documentation of drug users in a New York shooting gallery.
The ninth floor of St. Michael's Hospital was shut off to the public, staff, and administrators in 1984. The doors were welded and chained shut, the stop was removed from the elevators, and the no one talked about what happened there-ever. Ryan Sterling knew her life was going to change forever the day she found out her aunt needed a transplant, and she agreed to return to a home she never wanted to see again. Spending the vast majority of her time in St. Michael's hospital, she soon notices peculiarities: her aunt's roommate rants about evil, the nurses whisper about hauntings, and no one will tell her why the ninth floor is locked. Ryan thinks all the rumors are ridiculous until two nurses die right after she speaks with them about the floor in question. Noises and disembodied voices begin to haunt her night and day. Strange presents appear on her doorstep with notes that makes her blood run cold. Someone or something is watching Ryan, and she is certain whatever is behind the locked doors of the ninth floor is the key to her and her aunt's survival. Ryan never wanted to go home again, now she may never leave.
How do we understand language? What kinds of representations do people form when hearing a story or when reading a paragraph? In this dissertation, I will explore how people make meaning out of the language that they read or hear. One possibility is that the words we read or hear engage perceptuomotor representations, and language comprehension arises from modality-specific simulation or imagery of the linguistic content. Strong versions of the modality-specific approach assume complete overlap between the representations generated by language and those generated by perception and action. Perhaps representations brought about by language only partially overlap and interact with perception and action, with clear limits, and with important differences along the continuum from concrete to abstract language. The studies presented in this dissertation aim to delineate where perception and language understanding share representations and processing resources, and where they diverge. The findings suggest that language understanding affects visuospatial processing (Chapter 2) and visual motion processing (Chapter 3), but to a lesser extent than does perception itself.
Joseph Truini demonstrates how to floor with wood and laminate, lay a subfloor, cut flooring to size, set tile and stone, lay flooring on steps and around doors, and install finish materials.
A magnificent new novel from one of America’s finest writers—a powerfully affecting story spanning the twentieth century of a widow and her daughter and the nuns who serve their Irish-American community in Brooklyn. On a dim winter afternoon, a young Irish immigrant opens a gas tap in his Brooklyn tenement. He is determined to prove—to the subway bosses who have recently fired him, to his pregnant wife—that “the hours of his life . . . belonged to himself alone.” In the aftermath of the fire that follows, Sister St. Saviour, an aging nun, a Little Nursing Sister of the Sick Poor, appears, unbidden, to direct the way forward for his widow and his unborn child. In Catholic Brooklyn in the early part of the twentieth century, decorum, superstition, and shame collude to erase the man’s brief existence, and yet his suicide, though never spoken of, reverberates through many lives—testing the limits and the demands of love and sacrifice, of forgiveness and forgetfulness, even through multiple generations. Rendered with remarkable delicacy, heart, and intelligence, Alice McDermott’s The Ninth Hour is a crowning achievement of one of the finest American writers at work today.
An account of the life and work of the architect Minoru Yamasaki that leads the author to consider how (and for whom) architectural history is written. Sandfuture is a book about the life of the architect Minoru Yamasaki (1912–1986), who remains on the margins of history despite the enormous influence of his work on American architecture and society. That Yamasaki’s most famous projects—the Pruitt-Igoe apartments in St. Louis and the original World Trade Center in New York—were both destroyed on national television, thirty years apart, makes his relative obscurity all the more remarkable. Sandfuture is also a book about an artist interrogating art and architecture’s role in culture as New York changes drastically after a decade bracketed by terrorism and natural disaster. From the central thread of Yamasaki’s life, Sandfuture spirals outward to include reflections on a wide range of subjects, from the figure of the architect in literature and film and transformations in the contemporary art market to the perils of sick buildings and the broader social and political implications of how, and for whom, cities are built. The result is at once sophisticated in its understanding of material culture and novelistic in its telling of a good story.
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